STORY BOARD - IN PROGRESS.. .various elements.. for a film to be made.. WITH LES LABORATOIRES, PARIS

possible scenes... not in order.. THIS WEB SITE CHANGES CONSTANTLY.. SINCE I M WORKING DIRECTLY ONLY ON THE WEB : alwasy renew browser first

description:

Ce qui roule - That which rolls - Early forms of Rollin'Rock

Alfred Jarry was a quintessential modern hero anticipating the 20th century though he destroyed himself already in 1907 at age 32 through the insane consumption of absinth, alcohol and self-induced, self-deceiving madness. As a high school student together with his class mates, Jarry created nearly by chance UBU ROI, KING UBU a grotesque, pathetic dictator that foreshadowed the megalomania, failure and destruction of those disastrous men that terrorized Nazi-Europe, Fascist Spain and Stalinist Russia. Gender troubled and unsure about anything, Jarry embraced the future in a futurist manner, fantasizing about new machines - fast trains, airplanes, cars, factories, etc. - and daring technologies of the self that put into questions the limits of mankind. He wrote about Permanent Motion Food, a performance enhancing drug that lets supermale cyclists compete with high speed bullet trains going 250 km an hour and allow men make love 82 times in 24 hours. He also drafts disciplinary apparatuses that beat children and women automatically and time machines that transgress reality and age.

Most interesting Alfred Jarry lived a life that was characterized by his permanent use of a just newly invented bicycle, the carrying of a gun he handled carelessly and a total disregard over his social and financial resources and his own health to the point of premature death. Always dressed in just a bicycle costume (even onStephane Mallarme's funeral) Jarry ran up huge debts, never paid and was rude and insulting to people. He believed in his own literary alter ego king UBU, trying to personify and imitate the miserable and mean projection of king UBU, adapting his mannerist language by ignoring proper rules of grammar and syntax. Jarry created and lived his own fragmentation that was also reflected in his own writing. With him, we get a taste for what dominates today's news on international politics: neo-colonial wars, genocides, global financial crisis, astronomical debts and frauds, social and political injustice, powerful 'supermale' medico-pharmaceutical industries (Viagra, Uppers, Downers, implants, organ transplants, prosthesis made for Olympic championships etc.) and stunning technological and industrial achievements that threaten our environment, heat the globe to the point of melt down, and consume our social and material world.

The film project Ce qui roule - That which rolls - Early forms of Rollin'Rock tries to take up some of the schizo-poetic strains Alfred Jarry laid out and lived through. It is an accumulation of anecdotes, historic events, poetic projections and invented prolongations sketching the silhouettes of the historical as well as the imagined poet. But this film is not trying to illustrate the historical protagonist but to take all sources and literary creations as a rollin' rock to kick around with. In this film, I don't try to differ between Jarry's writing and his own life; I also don't limit myself to what might be historically reasonable or feasible but expand the scope of cinematic production to the point of anachronistic paradigms that obey only the structure of the film itself. This will force and allow us to move across several media and film textures - super 8, 16 mm, HDVD - skip chronologies and play with the intransigence of various spaces. Indoor and outdoors will be represented according to the logic of the film and treated like a canvas. Partially bathed in black and white, incompatible scenes will be glued together to accessible contrasts and poetic continuities. Having the focus on the bicycle, actual high-resolution street live will mix with ruthless bike acrobatics (driving against the traffic while filming without holding the handle bar), pistol shootings of monuments and romantic Paris travelings. The film is staring various professional actors, a striptease artist, a monkey (Bosse De Nage), retro-projections and the actual film process as well as a historical 100 years old bicycle. Even my face might appear with a semi-scared look framed against La Bastille ‘s roundabout traffic which I want to use as a bicycle-playground.

The film should allow for a kaleidoscopic concatenation of scenes and filmic passages that should not only make of Alfred Jarry an ambivalent anti-hero but also transform the bicycle from a one-dimensional vehicle into a superb driving machine that re-narrates the city and country side, expands love making, redefines and seduces people and misspells technology. The bicycle should come across as a iron companion, a drawing pencil, a chaotic mixer of literature, love, life and film. Last but not least, we try a filmic experiment that wants to be 'man, literature and bicycle with a camera' traveling across Paris.

Rainer Ganahl, 2008

ORIGIANL SCREEN PLAY.. TEXT WAS OFTEN ALTERED ON STAGE AND DURING EDITING:

Alfred Jarry stars into a bicycle window,,, camera from inside..,.. modern contemp. paris bicycle window. AJ.. noise on glas, decides to purachae a bicyce and camera goes over all htese contempor. bicycle but halts at the historic one we get for filmin. and purchases this one oncreidt.... then he see the dessee. advertisment.. which leads to the visiste de l amour scene... --as if there was a connection:

From "Viste de l'amour"- 'Manon'
AJ, fully drunk, mounts a staircasewiht bicycle to visit a high class prostitute(dressed in bike outfit.. with bicycle on his shoulder.. ); his small size is part of the conversation and negotiation, he smashes a
porcelan vase (love always comes with broken glass in AJ and Duchamps); dialog is about class, money, age difference, body size and attitude

background to this story is his military past.. (he left the caserne, talks about hte caserne and misses the late our return of hte casern

AJ misbehalves, drinks.. but is somehow brilliant... also not nice to evrybody... insulting.. tc.. but drinks absinth wiht vinigrette and ink. see below drinking.. dialogs.. etc. mesogynist.. anti-woman stuff.. he accuses her of having too mnay women. and ...

reading also cape times, the spanking machine.. article.. talking about it.. but not rading it all...

actors: AJ, rachille, senegle, as many actors as we have, RG alos in sigh (not talking)

actors: Alfred Jarry (AJ), ibrahim (I), and Pawlowski (P), -( Phyast /in the text/ was Gaston de Pawlowski, cycling friend of AJ, author o "voyage aupays de a quartrieme dimension, plublished in 1912 and in periodicals 1896, cited by marcel duchamp as one of hte sources for "large glas"), a woman (briefly) with dog ((who wants to volontueer for that role.. somebody from the labo... would be great -- I would love to have everybody in it... for example Yvanne or Julie...or rebecca... or sandra.. etc... )))

props: tables.. etc.. salon.. absinth... bootles.. drugs. hashish.. pills.. chemistry.. stuff.. exprerimenting.. GUN (BULLDOG, a dog, bicycle, there is also a penis statue.. described once we have to make out of black wax used for making bronze, = duchamp wheel, a wooden cane, a tri-color lamp to be burned at the end.,

everybody lies on pillows and his bed. (a mattrasse) - smoking, and making joints and a woman comes by (figurante) with a dog.dog is running all over the bed , disturbes and Alfred Jarry (here taking hte role of Nosocome) jumps and freaks out ... after a minute or so.. - camera filming all the trash and mass .. the books etc... , duchamp wheel

Ibrahim doing preparing pills.. all taking bizarre stuff, bicycle chair play.. some gay touching, burniing of lamp at the end. taken and expanded from the Day and Night text.. book 5, chapter 4 assassins talk/haschisch ...

woman arrives , wants love, gets spanking instead.. - erotic realism, serious on the edge --it is erotic for the woman.. but not for him. he kind of distances himself throught the machine. doesn't want to touch her...but enjoys the mechanism, decallage/discrepancy between his pleasure and her pleasure.. (rahter hysterical and "exagerated faked " "i wanna believe it my ... pleasure kind of fakery"

text:
The apparatus is composed of : a chair which grips the delinquent as soon as he is sat upon it; a system of grooves and panels to delimit exactly the part of his anatomy which is to be operated upon; and a high-precision mechanism which determines the number and intensity of the blows administered by a cane of the greatest suppleness. At the same time, an Edison phonographs reel off moral maxims, reproaches, exhortations, etc. all at a sufficiently high pitch to drown the cry of the guilty party … or patient. (educational flogging machine, orthomatic castigator) --- AJ is deliriing.. absinth in his hand in his mind.. in his stomach.... pistol lies next to him ..

actors: AJ (bike outfit);

part I : wiht one woman

part II: with sengle naked erotic

part III: with couple of gay guys.. parodying..fooling with clothes on

AJ sits in bed. overseves the shadow of hte spanking whlee.. and suddenly comes accross the sentence: AJ: l'amour est un act sans importance, puisque on peut le faire indefiniment / love is an act without importance since one can do it indefinitely"

he focuses and repeats the senteces.. and like in a dream.. she appears in the dark..(llight.. sitting there.. wiht the duchampian. wheel . starting her business:

we only see hte wheel.. in action. wiht the woman.. --- almost as a refrain.. voice over..: "l'amour est un act sans importance, puisque on peut le faire indefiniment" - (form supermale) like a mad man under hynosis: the woman does her act slently: :"

can be presented as a fantasy... ... as a dream.. a meditaiont.. no noise.. just back ground voice over sentece repeated..love is an act without importance since one can do it indefinitely l"amour ets un act sans imporance

scene ends fading into black or white ...

....

actors: AJ, woman (will be kept annonyoums)

location: les laboratoires,

props:etc.. duchamp whieel, slightly modifie, ... mess.. his mess.. books.. bottles.. -- hthe masturbation scene is in the dark.. black an dwhite or color but with lght.. only nothing visible.. except wheel and woman... slow.. her pace.. her ability to interact ..

in this scene we see AJ alone fishing at the teh river scene... using again teh "spanking machine" object but this time. the wheel is put horrizontal and he attached 3 fishing rods ot hte bicycle serving here as stand...

new: LENIN COMES BY WITH BROKEN BICYCLE AND TELLS ABOUT HIS BICYCLE ACCIENT (historical fact)

he sits on his death bed. deliring.. speaking to his "slaves" and reading and dreaming and dying. bike sales person comes and reclaims his bicycle..

the dream incerted: suicide - "hte regained youth of the very old" plus a buring of his body. (roman style) on top of bicycles.. so we make on the parking lot a big fire.. and burn a bunch of old bicycles..

some images also from hte PARIS RIOTS. ... fllicker in ... beautiful texts from messalina. (in a way his most splendid book)

actors: AJ , bike sales person

location les laboratoire, le lit... , parking lot.. s

props: old biccles to burning.. and a puppet of him (can bev ery simple..not life size.. can be small.. ) to burn.. about 10 - 15 old trashy bicycls. wood.. etc. to make a nice fire.

"the mouth alone, like a leaf from a tree, is diffrent on every face, and is the only feature one can draw without knoing how to draw, since one will invariably intimate wiht lines curved at random. lips and movements of lips that actually exist. and even when their voices are similar, two speakers have differnt mouths. beaucase there are moments when they do not talk an dthe mouths remain themselves. it was mouths militarily tamed for the convention of language that the little deaf-mute gilrs at auray would watch closely before answering them wiht the geometry of a uniform gmnasitics.

during AJ military service he presumably had some love story with sengle (sengle, became a famous doctor and director of a psychatric clinic and was later deported and killed by the nazi's.. ) sengle introduced jarry also to drugs and they made lots of experiments , at the level of scientific tests.. - (kind of w.benjamin in marseille) --- letter in 'days and nights'

why do you have a bicycle in the room: so the rats don't eat the tires:

here again. the machine will be "examined" by the guys.. with AJ reading the txt again... someobdy volontieres.. dressed... its a parody. it s carnevalsque.. drunk.. fun. not erotic at all..

before everybody leaves, or the scene comes to an end with : AJ, alludeingto hte fact that he "expects a vistors "... -- reads some of hte letter de la vielle dame... (desire.. of the old lady) to the guys.. making fun of.

scene 10: spanking part 0: salon: salon discussion .. jouranl .. introduciont de la mchiane different scenes. same ssetting. differnt people used in film at different moments. .but filmed together.. same day etc.

scenes recycled from the play / spectacle...

Scene: 82 times love making … etant donne - glass shattering
we use the perfromance lady.. and film her aside..

AJ bicycles in bike costume, in paris and outskirts… romantic landscape… Seine river side
paris bicycling (projection of old film - mixing contemporary traffic..

la drague.. tuillerie.. , sur les berges du canal.. (FISHING.. )

Scene: Perpetual Motion Food
AJ in negotiation with American developer - notre ami le geant (ibrahim)- who tells us that he tested it inthe beginning and it didn't work well and he grew.. so high.. - of PMF. He praises it qualities and claims that cyclists drinking it can beat the train from the sea of japan to paris. 10 000 mile race --- he also alludes to sexual performance..